Skip to main content

Full text of "Prospectus of the Ontario College of Art: 1949-1950"

See other formats



1949-19 50 

Digitized by the Internet Archive 

in 2012 with funding from 

The Ontario College of Art & Design - University of Toronto Libraries 

1949 1950 




H. L. Rous, Chairman 

J. B. Langley, b.arch., m.r.a.i.c, Vice-Chairman H.J. Fairhead, Honorary-Treasurer 

Fred. S. Haines, r.c.a., o.s.a., Secretary 

J. B. Langley, b.arch., m.r.a.i.c, Mrs. deBruno Austin, a.r.c.a.,o.s.a. A.J. Casson, p. r.c.a., o.s.a. 

Peter Brieger, ph.d. Martin Baldwin, G. Allan Burton 

Fred H. Brigden, r.c.a., o.s.a. 

H. J. Fairhead Alan Y. Eaton Fred S. Auger 

E. A. Hardy, o.b.e., b.a., d.paed. Chas. Goldhamer, o.s.a. 

F. H. Marani, o.b.e. , f.r.a.i.c, r.c.a., v.d. H. S. Palmer, r.c.a., o.s.a. 

H. L. Rous F. S. Rutherford,, ll.d. 

J. Ardagh Scythes 

James I. Simpson J. F. M. Stewart, b.a. F. G. Rolph 

Melville P. White Mrs. O. D. Vaughan, m.a. 

Mackenzie Waters, m.c, v.d.,, f.r.a.i.c, r.c.a. 



Fred. S. Haines, r.c.a., o.s.a Principal 

Roberta Murby Registrar 

Fredda Kelly Secretary to the Principal 

Amy Despard Librarian 

W. M. Mounfield Business Administrator 



»,„ , ^jfjiyff^ffff. 

JjjjjjjUdJ ^^ 

■'"' • r- — •-'-- 



«*»*_ */ 






1 =1 



?,*!*« ;; 



* ji{iM*> :. 


■Siis miliiiiHiiiiitt-,^£ ■ Sf 

•Br' 11 




The Ontario College of Art was founded in 1876 and was granted a 
Provincial Charter in 1912. The present building in Grange Park 
was erected in 1921. 

With the stimulus of the increase in registration due to the influx 
of D.V.A. students, the curriculum was expanded in all fields of Art. 
Enlarged classes have forced the College to take over the William 
Houston School and space in Ryerson Public School. 

Plans have recently been prepared and presented to the Provincial 
Government for an enlarged College at Grange Park, to enable all 
activities to be under one roof. 

Our object is to produce artists, designers and craftsmen, fully equipped 
after a four-year diploma course, to enter any of the Fine, Graphic, 
Commercial or Industrial Arts. We feel it is impossible to design 
specific articles without knowing how these articles are constructed, 
without knowing the potentialities of each material, and without 
studying the suitability of each. For this reason we have inaugurated 
a department of three-dimensional design, and opened workshops in 
Woodworking, Pottery, Textiles, Metal Work and Leathercraft. 
Today it is increasingly important that designers know not only how 
objects are created by hand, but also how they are produced in quantity 
by machine. With this end in view, our classes visit industrial 
plants and execute assignments under factory conditions . It is inter- 
esting to note that as a result of these contacts, Canadian manufac- 
turers are increasingly supporting the College with scholarships for 
our students and employment for graduates. 

Fred S . Haines. 

Design School, Nassau Street 


Calendar, Fees etc. . 

Basic Training . 

Drawing and Painting . 

Advertising Art 

Design .... 

Industrial Design 

Sculpture .... 

Interior Architecture 

Students' Work 

General Course . 

Research Studies 

Evening Classes and Special Instruction 

General Information .... 

Student Activities 

Teaching Staff 

Awards and Scholarships 


page 5 



Students are admitted on the implicit understanding that they will be of good 
behaviour, will work as directed, be regular and punctual in attendance, 
observe all regulations posted or announced and present themselves for exam- 
inations in the subjects relating to their courses. 

Day classes in the College year are divided into two terms and all fees are 
payable strictly in advance. Students are expected to give careful consideration 
to their decision to enter the College, as fees once paid are not returnable. 


For all Classes and privileges 1 year $150.00 

payable $75.00 Sept. 26th, 1949 
$75.00 Feb. 1st, 1950 
Special Fees for Evening and Part-time Classes. 

An entrance fee will be charged for courses in: 

Sculpture Pottery Mural Painting 

Leather Work Etching Lithography 

Modelling Metal Work Furniture Design 

Textile Design and Photo Retouching 

No student is admitted to classes until registration is completed by the pay- 
ment of fees. 

Supplies may be obtained at College store at minimum cost. 


First term begins September 26, 1949 

closes January 31, 1950 

Second term begins February 1, 1950 

closes May 20, 1950 


September 19th to 23rd, inclusive. 

10 . 30-11 . 30 a.m. 2 . 00-3 . 30 p.m. daily. 


THANKSGIVING — from Friday before Thanksgiving until the following 

CHRISTMAS— from December 23rd, 1949 to January 3rd, 1950. 

EASTER — from Thursday before Good Friday until the following Tuesday. 


Basic Year Modelling Class. 


directed by Sydney H. Watson, O.5.A. 

This introductory course provides intensive training in drawing 
and the fundamentals of art appreciation and practice and 
acquaints the student with the high standards of the professional 
fields of artistic endeavour by which he can assess his ability 
to proceed into a specialized held. 

Each subject is developed through progressive exercises from the 
elementary to the more advanced conception thus providing a 
sound training in observation, historical background, research 
from his own environment, compositional analysis and synthesis 
and a knowledge of form; all basic requirements for his accept- 
ance into a specialist course. 

ARCHITECTURAL DRAWING. The handling and care of instru- 
ments; free-hand and mechanical perspective drawing applied to 
basic architectural forms of our environment and the study of 
shades, shadows and reflections. 

COLOUR. Exploration of the expressive and representational 
aspects of colour through a study of light and colour intensity, 
area shape, placement and perspective and a survey of colour 

COMPOSITION. A study of spatial relationships, pattern, planes, 
movement, contrast, texture and rhythm, devoting the last third 
of the term to three-dimensional composition. 

DESIGN. Investigation of the power of the simple line and form 
relationship of line and areas in the division of two and three- 
dimensional space; the system of repeat pattern and applied 
design to all industries. 

DRAWING. Commencing with the three-dimensional forms, the 
cube, sphere, cone, cylinder and pyramid studies are made in 
pure line, expressive line and value, at first separately and later 
in combination, progressing gradually from the simpler objects 
of everyday life, into the study of mass in the costumed figure 
in the later stages. 

LETTERING. To arouse an appreciation of lettering as a creative 
work while building an intelligible basis for future exploration 
into the many lettering forms. 

LIFE. Analysis of the human figure stressing rhythm, action, 
proportion and the development of form, concluding with the 
elements of anatomy. 

MODELLING. To develop an appreciation and understanding of 
three-dimensional form. 

RESEARCH I. To develop a method of doing analytical research 
on the historic works of man and thus build up a keen interest 
in relating traditional ornament, decorative design and pattern 
to the society which developed it, using the material thus 
acquired as the basis for compositional projects. 

RESEARCH II. To learn to gather documentary material on the 
contemporary environment and materials for a specific purpose, 
and to develop self-reliance and a sense of responsibility by 
working on-the-spot, in public, under less favourable conditions 
to those found in the studio. 

After he has completed his Basic 
Training this student will select 
one of the seven courses de- 
scribed in the following pages. 


Painting from life. 


directed by George Pepper, A.R.C.A.. O.S.A. 

The drawing and painting course is designed to develop artists 
of sound ability and of high aesthetic standards. The essential 
requirements for success in the course are natural ability, self- 
discipline and diligence. The student is led through a series of 
steps, from simple problems to those of greater complexity, as 
knowledge and skill increase, which culminate in the painting 
of the figure. 

DRAWING. Emphasis is placed on drawing, especially from the 
life model and the costumed figure. Direct drawings with the 
pen are made to develop a sensitive, expressive line. Tone draw- 
ing is studied as an approach to painting. 

STILL-LIFE. Beginning with the second year, still-life groups are 
painted in both oils and water colour, for the study of colour, 
tone and texture. 

COSTUME. The costumed figure is painted by third and fourth 
year students. 

PORTRAIT. Third and fourth year students paint portraits of 
models selected for their diversity of types. 

LIFE PAINTING. Beginning in the third year, students paint from 
the life model. The aim is to achieve complete realization of 
form through line, tone and colour. 

COMPOSITION. The art of organizing imaginatively the pictorial 
elements in a picture is stressed throughout the course. Students 
of all years are required to submit for criticism a composition 
every week. In this work they will apply the principles learned 
through the study of the finest compositions of the great schools 
of painting. 

MURAL PAINTING. In line with the growing public interest in 
Mural painting, instruction is provided for qualified students in 
the historical background of the subject, the theory of traditional 
methods and their practical application under modern conditions. 

MUSEUM STUDY. An appreciation of good form and style is culti- 
vated through the study of outstanding examples of the art of 
past civilizations. 

TECHNICAL STUDIES. Sound technical knowledge is essential for 
the artist in order that his picture may have lasting w T orth. The 
student is given, through lectures and practical exercises, a 
thorough understanding of the materials he uses, pigments, oils, 
resins, emulsions, etc. He is taught how to prepare his own 
grounds for painting, and how to carry his work through to 
completion in oil, egg tempera, or "mixed technique". 

OPTIONAL SUBJECTS. Students are required to study modelling, 
etching or lithography as an adjunct to their course. 

OUTDOOR CLASSES. When weather permits, certain classes in 
drawing and painting are held out of doors. On a few occasions 
during the school year, classes go into the country for the painting 
of landscape subjects. 

Composition Class. 


Students see practical demonstration of all 
processes of photo-engraving. 


directed by Fred Finley, O.5.A. 

The variety and intensity of training in this course is designed to 
fit the graduating student for an immediate place in the field of 
Advertising Art. Instruction not only includes the necessary art 
training and a study of reproduction methods, but also a compre- 
hensive survey of Advertising as a whole. This preparation has 
the advantage of making less obtrusive the distinction between 
learning and doing, between the problem of completing a class 
assignment and that of producing a piece of work acceptable to 
the Art Buyer. 

FIGURE DRAWING. Drawing from life in line, tone and colour. 
10 Lectures and demonstrations to illustrate the influence of anatomy 

on exterior forms. 

LETTERING AND TYPOGRAPHY. The basic letter forms and the 
alphabets derived from them. The understanding and use of 
modern type faces. 

ADVERTISING LAYOUT. Included in this subject are: 

A survey of Advertising, its purpose, its importance. 

The merchandising problem. Customer research. 

The preparation of advertising layouts. Sales ideas and tech- 

Direct Mail Advertising. Booklets, folders, Campaign 

The processes of reproduction. This study is furthered by 
tours of Photo-engraving plants. 

ILLUSTRATION. Elements of structure, action, movement, expres- 
sion. The study of folds and textures. Principles of composi- 
tion. Techniques and work in the following mediums: pen, dry 
brush, scratch-board, coquil-board, pencil, crayon, wash, water- 
colour, gouache and coloured inks. 

ADVERTISING DESIGN. Application of the principles of design to 
problems of modern packaging and display. Instruction in 
methods employed in preparing the designs for reproduction. 

COLOUR THEORY AND PRACTICE. Problems based on the Munsell 
System give the student the colour background necessary for his 
subsequent work in design and illustration. 

MECHANICAL DRAWING. Setting up buildings, furniture and other 
objects in perspective and rendering them for reproduction in 
various mediums. 

RETOUCHING. Practical retouching projects are handled by 
students in current techniques. Modern equipment and air 
brushes are provided. 

MUSEUM RESEARCH. The study of Costume against the back- 
ground of Man's social history. Research designed to stimulate 
the creative processes of the student. 

WORKSHOP PRACTICE. The production of working drawings under 
workshop conditions. In this period the student carries to con- 
clusion, projects planned in the layout and lettering periods. 

Conditions approximate those of the Commercial Studio. 



directed by John Martin, O.S.A. 

Design applied to various class projects. 


This course pertains to no particular field of applied design, but, 
through the application of the fundamental principles of propor- 
tion, rhythm and balance, covers practically all known usages. 
The graduate from this course will enter the field of design with 
a sound knowledge of what design is, and of how to apply it in 

GENERAL APPRECIATION OF DESIGN. From his preliminary work 
in the basic year the second year student is directed towards a 
general appreciation of design and its industrial application. 

FIELDS OF DESIGN. The fields of design for printing, weaving, 
architecture, book design, jewellery and metal-work are given 
primary exploration. 

LETTERING. Study is supported by instruction in traditional letter 
forms such as Roman and the Gothics. 

COLOUR THEORY AND PRACTICE based on the Munsell System to 
give the student the necessary background for his subsequent 

COSTUME is dealt with in museum research and in the study of 
contemporary materials. 

LIFE DRAWING. The study of the structure proportions and forms 
of the human figure. 

DRAWING AND PAINTING are included in the third year during 
which the student will study the media in which the design will 
actually be produced. 

PRACTICAL WORK. Some practical work will be done in the pre- 
paration of printed fabric, pottery decoration, wall paper, etc. 
Work will also be done in theatre decoration, costume and fresco 
in miniature. 

THREE-DIMENSIONAL DESIGN will be explored. Only students of 
the highest standing will be passed into the fourth and final year. 

TECHNOLOGICAL DEVELOPMENT. From this time on, the student 
will devote himself to technological and aesthetic development. 
He will give the final polish to his techniques in design, colour, 
and application. 

Thus prepared, the student may enter the industrial field fully 
confident of himself as a designer. 

Design Class. 


Three dimensional abstract to demonstrate 
principles of design and qualities of material 



directed by H. A. Nieboer, A.M.I.M.E., M.S.I.A.. F.R.S.A., S.A.M.E., S./.O. 

Industrial Design is in principle the integration between (1) The 
aesthetic; (2) the functional technological; (3) the commercial. 
In order to accomplish this, careful and sustained study is needed 
together with a developed sense of balance, ingenuity, persever- 
ance, keen observation and above all, enthusiasm, to mention 
only a few of the essential qualities. The Industrial Designer 
who keeps these things in mind will find his rewards sooner or 

DESCRIPTIVE GEOMETRY. Projection of geometrical solids with 
dimensions. Advanced projection drawing of industrial design 

CLAY MODELLING. Exploration of form through modelling of 
solids. Modelling of human figure. Simple plaster moulding. 

MATERIALS. From elementary handling and study of the character 
and uses of a wide range of raw, semi-processed and processed 
materials, to stress calculation and an understanding of the 
strength of materials related to function of objects designed by the 

LETTERING. Studied with reference to the needs of the student of 
industrial design. 

COLOUR. Study of colour systems and laws. The psychology of 
colour. Colour in relation to space and form. Use of colour 
in perspective renderings. 

LIFE DRAWING. The mechanics of the human body and essential 
structural anatomy. Emphasis is given to the discovery of form 
and renderings in various media. 

RESEARCH. Museum lecture series on the "Historic Works of 
Man" and "Material Cultures of Europe from 1500 A.D". 

standing of form, movement, etc., in space. 

INDUSTRIAL DESIGN PROJECTS. The practical application of all 
subjects taught to the designing of an article with consideration 
given to the aesthetic, the technological functional and commer- 
cial aspects. Dimensioned projection drawings, perspectives and 
design reports must be produced. 

INTERIOR DESIGN. Modern furniture, lighting, heating, ventila- 
tion, acoustics, etc. 

PUBLIC RELATIONS. Designer-client relationship, business eti- 
quette, patent laws, registration and procedures. 

MANAGEMENT. Office administration and organization. Time 
sheets, calculation of overhead and general costs. Public speaking. 

LAWS OF SYMMETRY. Studied and applied relative to the objects 

\ I PI I R L While the student is prepared for the 

v v u b i i v ii b Fine Arfs the possibilities f the 

directed by fmonuel Hahn. R.C.A.. S.S.C. Industrial field are not neglected. 

The object of this course is first, to lead the student to professional 
standing in the fine arts and the application of sculptural forms 
to the needs of industry; second, to develop an understanding of 
form fundamental to the arts in general. 

In order to accomplish these aims, the student is directed to an 
appreciation of the possibilities and problems of sculpture, both 
aesthetic and material. Full freedom of expression is encouraged 
16 when a knowledge of the essential principles and techniques of 

sculpture have been acquired. 

ARMATURES. The methods and materials of armature building. 

MATERIALS. A thorough exploration of the properties and 
possibilities of the sculptor's materials both traditional and 

MODELLING FROM LIFE. After the basic first year training in 
three dimensional form, the student begins to model the figure 
in clay from the life model. 

ANATOMY. The series of Lectures in Anatomy is compulsory for 
all students of sculpture. 

STRUCTURE. Coincident with the Anatomy instruction is the 
study of the human structure in relation to outward form and 

MOULDING AND CASTING, (a) Plaster waste moulds (b) Mould- 
ing for multiple reproduction in plaster, gelatine, latex (rubber), 
etc. (c) The Lost wax process (d) Papier Mache (e) Sand mould- 
ing and metal casting. 

INDUSTRIAL AND DISPLAY. In order to meet the growing demands 
of industry for sculptured models, the course provides specialized 
training in industrial and display techniques. Problems are set, 
along with assignments for making models to serve specific prac- 
tical purposes. Mechanical facilities are provided for carrying 
out these experimental projects in their final materials. 

ADVANCED STUDENTS. In order to develop and encourage creative 
talent, third and fourth year students are allowed greater freedom 
of expression and choice of subject matter and material for their 
assignments. Time allowances and manner of instruction and 
criticism are adapted to individual needs as they arise. 

MUSEUM RESEARCH. Development of an appreciation of form and 
style through study of the art of past civilizations. 


Sculpture Studio. 

Design for modern inferior 


directed by John Freeling Hunt 

The purpose of this intensive course is to provide a thorough 
training in the fundamentals of architectural design for the 
student who shows a natural capacity for creative work and a 
susceptibility to new ideas, as a basis for the creative study of the 
complete contemporary interior, both domestic and industrial. 

The student's prime consideration is to leatn how to co-ordinate 
his thinking, his work and his time in order to develop the 
facility to collaborate with architects, clients, technicians and 


All aspects of his work from the initial steps of research and 
visualization, right through the progressive stages of theme 
development, rendering and detailing up to the final presentation 
with specifications, working drawings, blueprints and models, 
are presented in a manner that stimulates initiative and a deep 
sense of personal responsibility. 

ARCHITECTURAL CONSTRUCTION. Basic terminology; elementary 
architectural drawing; measured drawings to scale; full sized 
working drawings; mouldings; ornament and materials. 

working drawings; anatomy related to furniture construction. 

HISTORICAL RESEARCH. To develop a discreet appreciation of tra- 
ditional work through lectures, prescribed reading, essays, mea- 
sured drawings from Museums, interior renderings and first-hand 
contacts with fine architectural examples and documents. 

PROFESSIONAL STANDARDS. Practical survey of related trades to 
observe manufacturing limitations, and business procedure; a 
study of client relations. 

CONTEMPORARY INTERIOR DESIGN. On-the-spot research trips, 
lectures by professional experts in lighting, textiles, furniture, 
upholstery, glass, wallpaper and plaster; detailed interior designs 
based on plans and elevations to develop a knowledge of space 
composition; essentials of merchandise display. 

THREE-DIMENSIONAL DESIGN. Architectural realization of space 

FLAT DESIGN. To study the qualities of motion, time and emo- 
tions in the division of two-dimensional space related to textiles, 
rugs, wallpaper, tiles, leather and linoleum, and its application 
to furniture and upholstery. 

COLOUR. First year theory in separate class; second and third 
years colour psychology in lecture form with application in 
interior designs. 

LIFE DRAWING. Stressing proportion, anatomy and the figure in 
design, two years only. 

FREE RENDERING. In ink, gouache and watercolour, 2nd and 3rd 


PERSPECTIVE. Applied to interior and furniture renderings. 


Interior Architecture Class. 

"°~ ''" ' ' f. 



To qild 

meet gold , to paint the 
time on the 

'<e ined Qolo , 
liLv . to throw a pei 
violet , to smooth the ice . or add 
another hue unto the rainbow, or 
with taper- light to seek the 
beauteous eye of heaven to garnish 
is wasteful and ridiculous excess. 

A S I S 









D E 5 I C r\ 





V*. * V> 


- . 

MtffllMV »1I.»V!M ll«» 




"ngp rasa cpa cp 3 ess tm f 

w^)t^-^,:4-'.:^: - r *« 







In addition to the type of work shown below, students in the 
New General Course interpret their designs in textiles and wood 


directed by Frederick Hagan 

The new General Course commencing in the fall of 1949 is 
planned as an experience in materials used in visual creative work. 
In a stimulating environment the Designer-Producer will be 
equipped also for a career in educational or recreational work. 

DRAWING. Drawing the human figure and still-life in various 
graphic media. 

PAINTING. Traditional techniques of oil and watercolour. 

MUSEUM. Lectures on Material Cultures of the past, research 
studies of the periods for source material. 

DESIGN. Three-dimensional construction and design; study of 
colour and materials; design and its relationship to existing 

CERAMICS Instructor Grant Wylie. 

The preparation of clay, coiling and hand building, tooling and 
throwing on the potter's wheel. Technical research of clays and 
glazes, stacking and firing of the kiln. 

WOOD Instructor Frank Carrington. 97 

Understanding and appreciation of woods and their many uses; 
finishing and carving; traditional methods of furniture construc- 
tion; modern uses of materials. 

TEXTILES Instructor Wanda Nelles. 

Study of looms and equipment; fibres and yarn construction; 
basic weaves; student designs woven in projects of small articles, 
tweed yardage, drapery and upholstery fabrics. Mill research. 

METAL WORK AND JEWELLERY Instructor Harold Stacey. 

Investigation of properties of various metals and their uses. 
Shaping and cutting of metals, casting and press work. 

Students may select from the following courses: Leatherwork, 
etching, lithography or sculpture. Social uses of materials; 
printing and the print; puppets and staging. 




directed by Miss Ruth Home, M.A. 

A course of lectures designed to provide a classical background to 
the various art courses offered by the College to direct research 
into the traditional works of man and to stimulate the creative 
processes of the student. 

In the basic year the lectures are of a general nature to serve as a 
basis for future specialization. In the later years lectures and 
research are directed towards the specialist fields. Research 
studies throughout the entire course consist of a one-hour lecture 
a week followed by research under the combined supervision of 
the lecturer and the Department in which the student is special- 

The material covered in the lectures is as follows: 

Cultures of the Mediterranean, Egypt, Mesopotamia, Greece and 
Rome. Reference will be made to repeat patterns, architecture, 
sculpture, pottery, textiles and furniture. 

Material Cultures of Byzantium, the Near East and Europe from 
the 5th Century, A.D. until 1500 A.D. 

Material cultures of Europe and the Western Hemisphere from 
1500 until modern times. 

The primitive peoples of the world . The cultures of India, China 
and Japan. 



In addition to the complete courses outlined in the preceding 
pages, the College offers evening classes and special instruction in 
a variety of subjects. 


PORTRAIT PAINTING. Classes in portrait painting are conducted on 
Monday, Wednesday and Friday evenings by F. S. Challener, R.C.A., O.S.A. 

LIFE AND COSTUME. Classes in life and costume drawing are conducted 
under the direction of George Pepper, A.R.C.A., O.S.A. 

ADVERTISING ART. Classes in advertising layout, and in design and 
lettering are held on Monday and Wednesday under the direction of Fred 
Finley, O.S.A. 

SCULPTURE. Classes in sculpture are conducted Tuesday and Thursday 
evenings by Emanuel Hahn, R.C.A., S.S.C 


PORTRAIT PAINTING. A portrait painting class for professional artists is 
held on Saturday afternoons under Archibald Barnes, R.C.A., O.S.A. 

Students may enrol for instruction in one or more of the following subjects 
independently of the complete course to which the subject belongs. 

CERAMICS. Instructor Grant W. Wylie. 

Design and function, technical research, coiling and hand building, tooling 
and throwing on potter's wheel, stacking and firing. 

FURNITURE DESIGN. Instructor Frank Carrington. 

Study of design, detailing, construction, carving, machine work, finishing. 

TEXTILES. Instructor Wanda Nelles. 

Advanced weaving problems, basic weaves, preparation of loom, fabric analysis. 

METALWORK AND JEWELLERY. Instructor Harold G. Stacey. 
Historical research, three-dimensional design, contruction of model, use and 
care of power tools, metals and their alloys, shaping and casting, stone cutting 
and polishing. 

BOOKBINDING Instructor Miss Amy Despard. 

LEATHERWORK Instructor Miss Frances Neil. 

Tooling, modelling and manipulation of all types of leather. 

Further information concerning special classes may be obtained, from the Registrar. 




of representatives and officers elected by the student body to carry on the 
management of student funds and the organization of various extra-curricular 
activities and services such as dances, annual Costume Ball, college magazine, 
student directory, theatre group, sports groups. The Student Council also acts 
as liaison with the Staff and carries legitimate student problems to them. A 
common room is operated in conjunction with the cafeteria. The annual Costume 
Ball is created entirely by students under Council direction with assistance from 
Staff members. In such activities as the decoration of the Ball, the theatre 
group production, and the Sketch magazine, opportunity is provided for 
students to apply their college training. 

THE O.C.A. ALUMNI ASSOCIATION: Affiliated with the University of 
Toronto Alumni Association, this lately-formed body has as its objectives, 
the raising and maintaining of O.C.A. standards, the providing of worthwhile 
scholarships at the College and helping former students to keep in contact with 
one another. Membership is open to any former students or staff members. 


The Ontario College of Art (formerly The Central Ontario School of Art and 
Design, which was founded in 1876) was incorporated by Act of the Provincial 
Parliament in 1912. 

The government of the College is entrusted to a Council; the majority is 
appointed by the Lieutenant-Governor-in-Council, and the rest by various 
Provincial organizations interested in Art. 

THE CLASSES. Day classes for the general session are open to men and wo- 
men students. Intending students are requested to give particulars of age, 
education and previous training in art. They must present satisfactory 
evidence of their interest and ability. It cannot be too highly stressed that 
students must have an absorbing interest in art and a capacity for hard work. 

POST-GRADUATE COURSE. Post-Graduate courses should preferably be 
taken in the year immediately following the student's graduation year. The 
graduate, subject to the approval of the Principal, will decide upon the pro- 
gramme of work to be pursued. This period of study is considered by the 
College to be mainly one of practical effort on the part of the graduate about 
to enter professional life. The necessity to further develop technical ability is 
stressed upon the graduate and his work is arranged with that point in view 

THE ROYAL ONTARIO MUSEUM. Lectures and Research Studies under the 
direction of Miss Ruth Home, M.A., assisted by Mrs. Dorothy Hoover, B.A., 
take place at the Royal Ontario Museum, one of the world's greatest museums. 
There the student is extended the privilege of intimate study where he may 
come in fruitful contact with the great art of the past. The famous Chinese 
Collection is a storehouse to thrill the student, and the varied collections of 
art objects and specimens of natural history make the museum one of the 
most prized fields of art study. 

THE ART GALLERY OF TORONTO, next door to the College, has a fine 
permanent collection of Art which, together with the many periodical 
exhibitions of painting and sculpture, offers the student an unrivalled op- 
portunity to study the works of the masters as well as those of the great con- 

THE COLLEGE LIBRARY contains a valuable collection of Art books and 
periodicals available for study and reference. The College welcomes contri- 
butions to its Library, such as that of Scythes and Company Limited for the 
purchase of reference books on Art subjects and the very valuable Carnegie 
Print Collection donated by the T. Eaton Co. Ltd. 

AWARDS. The College awards Diplomas of Associates of the College, 
Scholarships and Prizes arranged for and posted in the College for competition, 
and Certificates. These are regulated as follows: 

The Governor-General's Medal is awarded each year for general proficiency in 
advanced work, or in one particular subject. 

The Lieutenant-Governor's Medal is awarded each year for Proficiency in any 

Ontario College of Art Medal : is awarded each year to students of outstanding 

ASSOCIATESHIP OF THE COLLEGE: authorizes the use of the letters 
A.O.C.A. after the names of the holders, and is awarded upon completion of 
a four-year course, covering one or more of the nine Departments of the 
College, provided the student has fulfilled all conditions of the course, and 
that a satisfactory standard of quality has been achieved. All awards are made 
by judgment of the Staff sitting as a Board, and all such awards are made upon 
the basis of work done by the student during the year, and results gained in 
examinations, both practical and written. 

SCHOLARSHIPS: for free tuition in the College are awarded to students in 
First, Second and Third Years. 

EDUCATIONAL REQUIREMENTS. In future all students registering will be 
required to have an educational standard equal to Junior Matriculation. 



R.C.A. O.S.A. Studied Central On- 
tario School of Art and Industrial 
Design, and L'Academie Royale des 
Beaux Arts d'Anvers. Past Presi- 
dent R.C.A., Past President O.S.A., 
Hon. Member Society Hungarian 
Painter-Etchers, Member Chicago 
Society of Etchers, Painter-Gravers 
of London, England. Represented 
National Gallery Ottawa, Art Gal- 
lery Toronto, Hart House, and in 
Public Collections at Sarnia and 

R.C.A., O.S.A. Studied Central On- 
tario School of Art and Design. Re- 
presented National Gallery, Ottawa. 
Has Canadian War Memorials and 
mural decorations in Montreal, Otta- 
wa, Toronto, Hamilton, Winnipeg 
and Edmonton. 

duate of the Ontario College of Art. 
Studied at the New York School of 
Fine and Applied Arts. Represented 
in Hart House. 


O.S.A. Studied Ontario College of 
Art, the L'Academie Royale de 
Beaux Arts d'Anvers, Belgium, Art 
Students' League, N.Y. Represented 
National Gallery, Ottawa; Art Stu- 
dents' League Collection, N.Y. 

O.S.A. Studied at St. John Wood 
and Royal Academy Schools, Lon- 
don, England. Represented at Hull, 
Huddersfield, Oldham, Manchester, 
Vancouver and Toronto. 

apprenticeship in England. Studied 
Cripplegate Institute, London. 
Worked for leading Toronto firms 
designing and making the better 
kinds of furniture. Since 1936 has 
been designing and manufacturing 
fine furniture under name of F. Car- 
rington Company. 

Institute, Chicago. Many years Art 
Director, Photo-Engravers Limited, 
Toronto. Charter Member Art Direc- 
tors' Club, Toronto. 

AMY DESPARD. Graduate 

Ontario College of Art, Graduate 
Occupational Therapy, University of 
Toronto. Studied School of Fine and 
Applied Art, N.Y., and in Europe. 

FRED FINLEY, O.S.A. Studied Aca- 
demie Julien, Paris, and Bavarian 
Academy, Munich. Represented 
National Gallery, Ottawa, and Na- 
tional Gallery, N.S.W., Australia. 

ERIC FREIFELD. Studied art in Lon- 
don, Paris and New York. Repre- 
sented in numerous collections, in- 
cluding the British Fine Art Society 
and Solomon Collection. Awarded 
Carnegie Scholarship. 

GEORGE FOORD. Studied at 
Brighton School of Art (Scholarship 
winner) and at Ealing Art School, 
Eng. During War handled art and 
production for various Canadian 
Army publications. Until recently 
Art Editor of Canadian Magazine 

DONALD FRASER. Studied at the 
Ontario College of Art. Awarded 
Governor-General's Medal. 


Studied Central Ontario School of 
Art and Industrial Design, School of 
Applied Art, Polytechnikum and 
Academy of Stuttgart, Germany. 
Represented National Gallery of Can- 
ada, Ottawa. Erected Adam Beck 
and Hanlan Memorials, Toronto. 

RUTH M. HOME, M.A. 1922 B.A. 
Modern History, University of Tor- 
ontol924. M.A. inPolitical Science. 
1928 Lecturer, Royal Ontario Mu- 
seum. 1934 Carnegie Fellowship to 
study Ceramics in England, 1935 
Fellowship in Far Eastern Art and 
History, Columbia University. 1938 
the American Association of Museum 
Fellowship for study at the Court- 
aulds Institute of Fine Arts. Super- 
visor Division of Public Instruction, 
Royal Ontario Museum, 1939-1945- 
Since 1940 Lecturer Department of 
Fine Arts, University of Toronto. 

Modern History, University of Tor- 
onto. 1924-28 Lecturer, Royal On- 
tario Museum. Past member of the 
Canadian Society of Painters in 
Water Colour and Graphic Art 



Graduated Royal Wurtemberg 
School of Art and Design, Stuttgart, 
Germany. Studied Munich and 
Italy. Instructor Modelling and 
Design in the Central Ontario School 
of Art and Industrial Design. Exe- 
cuted Interior Decoration and Murals 
in The Provincial Legislative Cham- 
ber, Toronto, in Council Chamber, 
Toronto City Hall. 

tario College of Art, Art Students' 
League, N.Y., Lithography under 
George Miller. Formerly Res. Artist 
Pickering College. Member Society 
Graphic Arts. 

A.R.C.A., O.S.A. Born in Budapest. 
Studied Academy of Fine Arts, Buda- 
pest, in Antwerp and in Holland. 
Studied Colour Aquatint printmak- 
ing, Paris. Represented many Gal- 
leries in Canada, U.S.A. and Europe. 

at Ontario College of Art. Later in 
France, Italy, Germany and England 
on Scholarships. Instructor in In- 
terior Design and Research at Par- 
son's School of Design. Taught in 
Paris and in New York. Industrial 
and Interior designer in New York 
and Toronto. 


Ontario College of Art; awarded 
Governor-General's Medal, and the 

Travelling Scholarship of the Poster 

Advertising Association of Canada. 

WANDA B. NELLES. Studied Cran- 
brook Academy of Art, with Swedish 
weaver Martina Lindhal, Harland, 
Michigan, and Penland School of 
Handicrafts, Black Mountain Col- 
lege, N.C. 


LILY LANGLEY. Studied Winnipeg 
School of Art, and Ontario College 
of Art. 

O.S.A., D.A., (Edin.) Design Diplo- 
ma, Edinburgh College of Art. Four 
years designer "Sundour" Fabrics, 
England. Department head, Van- 
couver Art School, B.C. Art College; 
Provincial Institute, Calgary. Char- 
ter member, Canadian Group of 
Painters. Life member B.C. Fine Arts 
Society. Represented National Gal- 
lery of Canada, Vancouver Art Gal- 

JOHN MARTIN, O.S.A. Born and 
educated in England. Studied design 
under Professors Needham and Hill 
(Slade Professor) of Nottingham 
School of Art. Represented in many 
collections in Canada and the United 

FRANCES NEIL Studied Ontario 
College of Art. Awarded Governor- 
General's Medal. 

H. A. NIEBOER, A.M.I.M.E..M.S.I.A., 
F.R.S.A., S.A.M.E., S.I.D. Educated in 
Holland. B.Sc, Mechanical Engin- 
eering; Associate Member Inst. 
Mechanical Engineers of Great Brit- 
ain; Member Society Industrial 
Artists (London); Fellow Royal 
Society of Arts (London); Member 
Society Industrial Designers (U.S. A.); 
Member Society American Mechani- 
cal Engineers; lecturer School of 
Architecture, University of Cape- 
town, South Africa. At present re- 
tained as consulting engineer by 
important industrial organizations in 
England and Canada. 

O.S.A. Studied Ontario College of 
Art, Penn. Academy of Fine Arts, 
Passed Teachers' course, Hamilton 
Training College. Official Canadian 
War Artist. Represented Penn. 
Academy of Fine Arts, Philadelphia, 
and National Gallery, Ottawa. 

WILL OGILVIE, M.B.E. Studied Art 
Students' League, N.Y. Member 
Can. Group of Painters, and Can. 
Society Painters in Watercolour. 
Director Art Association School, 
Montreal, until outbreak of war. 
Canadian Official War Artist in 
Sicily, Italy, and North-West Europe. 
Awarded M.B.E. 

HARLEY PARKER. Studied Ontario 
College of Art and at Black Moun- 
tain College, N.C. Member Can. 
Society Graphic Art. 

A.R.C.A., O.S.A. Studied Ontario 
College of Art, in England, France 
and Italy. Official War Artist, Can- 
adian Forces Overseas. Represented 
National Gallery, Ottawa; Art 
Gallery, Toronto; Hart House, and 
National Gallery of South Africa. 

Holland. Studied State Academy of 
Fine Arts, Amsterdam, in France and 
in Italy. Professor State Academy, 
Amsterdam, since 1939. Exhibited 
Carnegie Institute, U.S.A. Repre- 
sented in the Hague, Amsterdam, 
Boston, and many other art museums. 

A.R.C.A., O.S.A., S.S.C. Studied 
Hamilton Technical School, West- 
dale Technical School, Ontario Col- 
ege of Art. Graduated in Sculpture 
1937 with Lieutenant-Governor's 

ARTHUR J. TRACY, S.S.C. Studied 
Ontario College of Art. Worked in 
B.C., California and England until 
outbreak of War. Served in R.A.F. 
and R.C.A.F. Exhibited Royal 
Academy. Member Chelsea Arts 


Born and educated in Toronto. Em- 
ployed in Advertising Art in Toronto. 
Artist-in-resider.ce, Lakefield Prep. 
School 1942-44. Liturgical Designer. 
Director, Canadian Society of Paint- 
ers in Water Colour. 

CARL SCHAEFER. Studied Ontario 
College of Art and in U.S.A. Award- 
ed first Canadian fellowship for 
creative painting, Guggenheim Foun- 
dation, N.Y., 1940-41. Official Can- 
adian War artist R.C.A.F., European 
theatre and Iceland. Member of 
Canadian Group of Painters, Society 
of Graphic Arts, Society of Painters 
in Watercolour. Represented Art 
Gallery of Toronto, National Gallery 
of Canada and in Collections in Eng- 
land and U.S.A. 

HAROLD G. STACEY. Studied at 
Central Technical School and with 
Rudy Renzius in Toronto. 

EARL WILSON. Graduated Ontario 
College of Art with Lieutenant- 
Governor's Medal. Studied Ameri- 
can School of Architecture, Fontain- 
bleau, France. Research work in 
England, Italy and U.S.A. 

GRANT W. WYLIE. Studied at the 
Hamilton Technical School under 
John Sloan and at the Ontario Col- 
lege of Art with Gustav Hahn. 
Studied Ceramics at Macdonald Col- 
lege of McGill University under M. 
Gaston Pepin. Instructed Summer 
School, Macdonald College. Has 
had experience in industrial potteries. 




Governor-General's Medal iok Proficiency in Design Frank Perry 

I ni 1 1 nan i-Goyirnou's Medal for Proficiency in Commercial Art .... Jack Birdsall 

Ontario College of Art Medal for Proficiency in Sculpture Corbftt Gray 

Ontario College of Art Medal for Proficiency in Interior Architecture . Verna Jacques 

Reeve's Award for All-round Technical Proficiency in Drawing and Painting Gerald Scott 

Province of Saskatchewan Prize for Etching David Anderson 

Reeves' Award for Craftsmanship in the Commercial Department .... Arthur Alder 

Dominion Paper Box Company Award for Best Package Design Jack Birdsall 

Honourable Mention — Arthur Alder 

Canadian Art Laboratory Prize Frederick Down 

The Restaurant Bar Award John Henry, Verna Jacques, Donald Lapp 

British American Bank Note Prize for Best Design in Bank Note Competition Ralph Bothwell 

George Adamson 
David Anderson 

Arthur Alder 
Dorothy Ashdown 
Tack Birdsall 


Drawing and Painting 

Frederick Down 
joan folinsbee 

Walter Hickling 
Harold Laxton 

Stanley Sellen 
Advertising Art 

Gerard Garneau 
John Goodale 
Norman Hathaway 

Nancy Jamieson 
Mary Johnston 
Gerard Rostant 

Gerald Scott 
Keith Scott 

Reginald Smith 
Harold Vanstone 

Mary Cane William Ellery Alan Olmsted 

Milburn Cleary Louis Hartley Frank Perry 

Jacqueline Wormley 

Charles Sheldon- 


William Clements 

Corbett Gray 

Verna Jacques 

William Firth 

Interior Architecture 

Teresa Kidick 


Donald Geary 



ald .Lapp 

Drawing and Painting 
Douglas Barry Joan Davidson Richard Knowles 

Gladys Clawson William Gee Anthony Lima 

William Coryell Richard Howe Bernard McLoughlin 

James Williamson 

John Pollard 


Reginald Shepherd 

Ralph Borchiver 

Arthur Steven 

Advertising Art 
Ralph Bothwell J° hn Muir 

William Williamson 

Bernard DesRoches 


Anne Shields 

>avtd uillrie 

John Henry 

Interior Architecture 


Robert Dunne 

James Moffat 

Drawing and Painting 
Helen Nixon 

Muriel Newton White 

Advertising Art 
Alfred Elliott Stanley Kinton Beresford Mitchell Nan Waller 

James Gadsden Alexander McFadyen James Taylor John Weese 

Herbert Hurdman Frank Milnes Sydney Taylor 

Arthur Allerton Samuel DeRinzy Frederick Fuller Raymond Mohr 

Leslie Bennett Gordon Diplock Raymon Hughes Charlotte Ritchie 

Interior Architecture 

James Bayley June Demerling Carman Harrison 

Allen Lett Nicholas Roman 


Scott Darrach 


Patricia Elliott 

Furniture Design 

Edward Ungar 


O'Keefe s Scholarship — One Term Theo Dimson 

International Business Machines Scholarship — One Term Margaret McMillan 

Ontario College of Art Scholarship — One Term Gustav Weisman 

American Can Company Award for Best Package Design .... Andrew VanRassell 

Honourable Mention — William Melville 
Painters, Etchers Society Award Christopher Adeney 

Ralph Blefgen William Gregory Jane Lippert 

Arthur Corry Allan Laing Edward Yates 

Province of Saskatchewan Prize for Etching . . . Duncan MacPherson, Gustav Weisman 

Dratving and Painting 
Christopher Adeney Robert Lawson Alexander Millar Percy Runnells 

Margaret Allport Jane Lippert Conrade Nelson Joseph Sherk 

John Climer Jack Lowry Allan Oddy Arthur Simons 

Patricia Harvie Wallace MacKay Katherine Ross Gustav Weisman 

John Whitfield Edward Yates 

Advertising Art 
Mary Armstrong Theo Dimson Anthony Fadelle Rolph Pogue 

Ralph Blefgen George Empey Allan Laing Albert Reinhardt 

Wallace Sheehan Andrew VanRassell 

Arthur Corry Ross Heimler Margaret McMillan 

William Gregory David Maynard 

Industrial Design 
William Hill Donald McCormack Thomas Swift Harry Wade 

Barbara Greene 

Dennis Gauthier 
Interior Architecture 
Frederick Graham 

Drawing and Painting 

Beverley Bruce Joan Grierson Sidney Ledson Walter Sloan 

Ida Chaloner Leslie Harting Hugh McKenzie Elizabeth Smith 

Norman Corke George Konkle George Meadows David Stevenson 

Charles Dawe Beatrice Lafreniere Francis Reed Shirley Walker 



Advertising Art 
Susanne Balkany Hugh Holmes Thomas Merchant DoROTHl Schmidt 

Frank Bull Helen Johnston Francis Milne Ronald Sc holes 

Hi uk Dodson Samuel Kyba Edgar Oesch John Solaruk 

Robert Frasbb David MacKay George Reid Norman Stinson 

Mary Gerow William Melville Roy Rice Eva Sutcliffe 

Norman Wynott George Young 

Russell Battram Warren Hodgins Lillian Lafreniere 

Industrial Design 
Arthur McGhie 

Interior Architecture 
Eugene MacDonald Frederick McNeely Gordon O'Rourke 

William McKillop John Rahkola 

Drawing and Fainting 
Albert Baur Ivan Campbell Russell Gray Suzanne Mess 

James Beairsto Philip Compton Dorothy Greenberg Pamela Pepler 

Reuben Blazer Marilyn Dymond Vivien Kershaw Bruce Ruppell 

Hugh Brown George Gaston Ronald Luetchford Della Thomson 

Frank Travis 

Advertising Art 

William Abbis Robert Forsyth Toivo Kaski William Peters 

Carlyle Chevalier William Gribble Edwin Love Daniel Sekulich 

Murray Dickson Clayton Harris James Lumbers Frank Weir 

Kenneth Duncan Charles Huke John MacDowall Francis Whaley 

Joseph Fitzsimmons Donald Hutson Gordon Mackie Barbara Wilkes 

Allan Bowman Doris Guse Barbara King Herbert Taylor 

Joan Gilmour Leonard Huggard Kenneth Lindsay Javier Villada 

Joan Stevens Gordon Swetman 

James Darby William Sloan 

Thomas Meadd Murray McDonald 

Interior Architecture 
Rupert Hopkins Huntley Keillor Henry Kingdon John Moise 

Charles Robinson John Russell Doris Thistlewood 


Mr. J. F. M. Stewart Scholarship — One Term Masayoshi Ikeno 

Mr. John Westren Scholarship — One Term Adeline Lepore 

Mr. R. S. McLaughlin Scholarship — One Term Hugh Thornton- 
Canadian Packaging Silver Medallion for Best Package Design .... Richard McLean 

Rolph-Clark-Stone Award for Best Package Design Richard McLean 

Honourable Mention — Donald Williamson 
Shirley Berger Annette Gofton Artis Shreve Thomas Swift 

Jack Claus John Maunder Jack Sloan William Wheeler 

William Fellows Earl Pollex Gladys Smith Donald Williamson 

Drawing and Painting 
Miklos Adamovits Barbara Howard Jack Sloan Murray Todd 

Roy Anderson Robert McKinnon Gladys Smith Kathleen Weber 

Randolph Covington Rowan Roy Louis Suzuki Elizabeth Wilson 

Eleanor Flint Artis Shreve Hugh Thornton 

Shirley Berger 
Douglas Bromley 
Dorothy Burnham 
William Dwight 

Roy Bowser 
Alan Darling 
Audrey Garwood 
Annette Gofton 

Advertising Art 
Grant Ellins Robert Haynes 

William Fellows Masayoshi Ikeno 

Jean Finch Jean Macreath 

Betsy Garlick John Maunder 

Douglas Johnson 
Barbara Lasky 
Adeline Lepore 
Elizabeth Martin 


Douglas Patten 
Earl Pollex 
Norman Pulham 
Rosemary Rathgeb 

Richard McLean 
James Murchie 
Donald Williamson 

Herbert Rodman 
Marie Stewart 
William Wheeler 

Bazil Kuglin 

Jack Claus 


John Sullivan 

Interior Architecture 
Allan McGuire 

Elena Zebrauskaite 

William Mills 

Joan Bloss 
Barbara Clapperton 
Robert Cowan 
Margaret Florence 
Albert Fucile 

Donald Ball 
William Fenti 
Oliver Kidson 
Esther Logan 


Drawing and Painting 

Robert Gaede 
Kenneth Gray 
Dorothy Henrique 
Kathleen Hill 
Gladys Johnson 

Murray Kearns 
Julius Lebow 
Eldred MacAlpine 
Irene Mullin 
Gillian Rawsthorne 

Advertising Art 

Gerrard McIntyre Alexander Ness 

Albert McMullin Clayton Oliver 

Jack Mortin Murray Roulston 

David Murphy Alexander Shefchuk 

Herbert Weinraub 

Mary Roche 
Yetta Rubin 
Florence Smith 
Marguerite Thorpe 

George Spencer 
William Sulkko 
John Wampler 
Peter Weins 

Elizabeth German 

Gordon Prime 

Grace Longstaff Edward Pegg 

Mary Richardson 


Industrial Design 

James Watt 


William Greenwood 
Interior Architecture 
Louise Beck Tohn Houghton William Littlefair 

Kenneth MacPherson 
Frances Gage 

John Amadio 
Naila Baroudi 
Neil Barr 
Fern Berenson 
Thomas Coole 
Olga Cornavitch 
Dorothy Crysler 

Randle Brereton 
Ian Campbell 
Murray Campbell 

Drawing and Painting 

James Fitzpatrick 
Mary Foissier 
John Foote 
Robert Garbutt 
William Gowe 
Shirley Gunn 
Ronald Gynane 

Thomas Johnson 
Gloria Kelly 
Mero Kostecki 
Gordon Kring 
John Lyons 
Duncan Macpherson 
Eileen Mathers 

Roy Davies 
John Donovan 
Joseph Dort 

Kerttu Virtanen 

Advertising Art 

Alexander Horen 
Robert Kent 
Errol MacDonald 

Ruth McPherson 
Leila O'Reilly 
Alice Peck 
Marilyn Pond 
Anne Rutherford 
Roy Tomlinson 
Ruth Urquhart 

Terence McDonald 
George Waring 

Patrh i \ Armstrong 

Robert Bender 
Alizette Dand 
Pamela Dixon 
Aubin Dowden 
Raul Far ell 

Ralph GbOROI 
Barbara Gitter 
Edward Greene 
George Hogarth 
Elizabeth Kennedy 
Donald Kuehner 


Nancy McFarren 
kathleen neale 
Nancy Ogle 
Benedict Perrin 
Kenneth Phillips 
Joan Pollett 

Marjory Rogers 
Patricia Scott 
Joyce Thompson 
Elga Ungerson 
Dixie Wansbrough 

William Moir 

Andrew Gillespie 

Kenneth Guild 

Mary Titus 

Interior Architecture 

George Kinsman Robert Marshall 

Frederick Swann George Thompson 

Robert McComb 

Phyllis Brown 

Jack Scully 

Furniture Design 
James Murray 

Ruth Wagner 

Scholarship — O'Keefe's — One Term 
Scholarship — O'Keefe's — One Term 
Scholarship — O'Keefe's — One Term 


Florence Deyo 

Peter Ito 

Philip Monoghan 

John Butler 

Isobel Morgan 




James Risk 


Lynn Balfour 
John Butler 
Kenneth Chamberlain 
Florence Deyo 
John Inglis 

Thomas Beckett 
William Bowers 
Dorothy Bulmer 
Joseph Cassels 
Marian Clark 
Joan Coldoff 
Edward Cronk 

Peter Ito 
Murray Laufer 
Paul MacDonald 
Philip Monoghan 
Isobel Morgan 


First Class 

Murray Oliver 
William Organ 
Elise Pike 
James Risk 
Harriet Saylor 

Second Class 

Donald Daber 
Marie Day 
George Gingras 
Catherine Grunsten 
Robert Hackborn 
Barbara Hornyansky 
Bruce Kinsella 

James Lacombe 
David Leigh 
Patricia Lippert 
Robert Mann 
Pamela McCullough 
Irene More 
Stelle Norris 

Victor Sinclair 
Frank Taylor 
Ruth Tye 
William Zaharuk 

Jack Phipps 
Helen Richards 
Ivan St. John 
Peter Smith 
James Taylor 
William Walthers 
Robert Woods 

Rachel Abramson 
Elizabeth Anderson 
Garry Anthony 
John Benson 
Sophie Bohne 
Helen Bolger 
Beverley Buckley 
Kathleen Brimer 
Lindsay Child 
James Coslett 
Audrey Cowper 
Marion Crossin 
June Dessoy 
Robert Eastman 
roney edelstein 

Joan Fels 
Alan Fujiwara 
Bruce Garland 
Pierre Gauvin 
Barbara Grange 
Edmund Gravel 
Margaret Graham 
Ruth Harris 
Doris Hill 
Mary Howes 
David Humphries 
John Ingram 
Elizabeth James 


Eric Kelk 


Marjorie Lam 
Inez Lamontagne 
Zale Magder 


Frank Matthews 
Mary McDiarmid 
Milo McNaughton 
William Montgomery 
Patricia Nicol 
Lois Nurse 
Norman Nadalin 
Robert Panes 
Gilda Perlman 
Palma Player 
Shirley Popham 

Henry Ryall 
Howard Snow 
Michael Snow 
Harry Spagn 
John Standen 
Carol Stee 
William Stein 
Hugh Stevenson 
Brian Travers-Smith 
LeRoy Yallevand 
Jack Vivash 
Albert Weir 
Suzanne Williams 
Margaret Wilson 
Joanna Wood